César Guerra-Peixe is one of the leading composers associated with musical nationalism in Brazil. A Retirada da Laguna is a programmatic suite that describes one of the most dramatic moments in the Paraguayan War of 1864–70, while his Concertino is a clever hybrid between folk music timbres and sophisticated high art ambitions. Museu da Inconfidência is one of the composer’s most admired works, taking us through a museum of 18th-century rebellion and heroism. Guerra-Peixe’s Symphonic Suites Nos. 1 and 2 can be heard on Naxos 8.573925, acclaimed by ClassicsToday.com as ‘absolutely world-class’.

Edino Krieger was a leading figure in Brazilian music as both composer and arts director who influenced a generation of his compatriots during his long life. Krieger’s works can be divided into three phases: serial, neo-Classical, and a fascinating synthesis of traditionalism and the avant-garde. From the second category comes the transitional Variações Elementares whereas his final creative phase, his peak of artistic maturity, is represented by the remainder of the programme. Included is one of his most emblematic pieces, Canticum Naturale, an expansive Amazonian painting in sound, and the virtuosic and expressive Ludus Symphonicus.

Writing in a style that was essentially Romantic, if modified by his study of Classical composers, the Swedish composer Stenhammar enjoyed a successful career also as a pianist and then, primarily, as a conductor. As a leading composer of his generation in Sweden, Stenhammar contributed to a variety of genres. Two symphonies and two piano concertos, in addition to a number of less substantial works, are still in today’s repertoire. The Interlude from his important cantata Sången is a frequent concert item.

The Brussels-based British composer Nigel Clarke is renowned for his virtuosic style, and an uncompromising contemporary musical language that speaks with an authentic voice to today’s audiences. This world premiere recording of his symphony for violin and orchestra The Prophecies of Merlin is inspired by the 12th-century text De gestis Britonum by Geoffrey of Monmouth, and it casts the soloist as the maddened Merlin, either raging alone or caught up in the wild tumult of the orchestra. This score brims with rhythmic drive and bravura orchestration, juxtaposing savage musical outbursts with moments of sheer transcendental beauty.

Jose Antônio de Almeida Prado was one of the most admired Brazilian composers of his time. The two stylistically diverse works featured on this album exemplify different creative periods in the composer’s life. The prize-winning Pequenos funerais cantantes, which was Almeida Prado’s breakthrough as a composer, is a lament full of unique soundworlds forged from different combinations of choral and orchestral writing. The superbly orchestrated Sinfonia dos OrixAs takes as its subject the Orishas (deities in the Yoruba religion) – and is a personal tribute to the rich Afro-Brazilian religious traditions, a sumptuous melodic and rhythmic feast celebrating the forces of nature.

César Guerra-Peixe was one of the most versatile Brazilian musicians of the 20th century, gaining a particular mastery of orchestration and creating his own inimitable sound through extensive work in radio, television and cinema. The toe-tapping dance rhythms and lyrical expressiveness in his two Symphonic Suites were inspired by research into Brazilian folk traditions, further enhanced by a broad range of vibrantly eloquent global influences. The lighthearted Roda de Amigos mischievously caricatures Guerra-Peixe’s musical circle of friends and their various woodwind instruments.

Brazilian composers in the 19th century often sought state scholarships to enable them to study in Europe where they were to become influenced by the German, Italian and French compositional schools. They also became involved in the vogue for writing suites based on ancient dances, such as Nepomuceno’s delightful Ancient Suite, premiered at Grieg’s home, or Braga’s Madrigal-Pavana which evokes the belle époque ballrooms of Rio de Janeiro. Miguéz’s Suite in the Old Style is polyphonic and lively, while Gomes’ Sonata for Strings is his finest non-operatic work.

Claudio Santoro was one of Brazil’s most eminent and influential composers. Over a 50-year period, he wrote a cycle of 14 symphonies that is widely acclaimed as the most significant cycle of its kind ever written in Brazil. The two selected works in this inaugural volume of the first complete recording of his symphonies focus on the 1950s, a period when Santoro sought a more direct and communicative idiom using Brazilian elements. His use of folk-based material is nonetheless highly creative, sometimes indeed abstract, as in key moments of Symphony No. 5. Symphony No. 7 is one of his most complex and intense works, a celebration of his country’s new capital Brasília in music of striking modernity. • Claudio Santoro was one of the most restless and versatile musicians of our time – a prodigy, inspired creator and brilliant interpreter, dynamic organizer, lucid educator and researcher. This new release is first in a new cycle of Santoro’s complete symphonies.